On Thu, 15 Nov 2007, Ypatios Grigoriadis wrote:
If i may now borrow the theory and terminus Arrow of time by Arthur
Eddington, according to which time is the fourth dimension in space,
Afaik, Arthur Eddington made the first English translation of Einstein.
This is probably what got him in that 4th dimension thing, or perhaps it
was the other way around (that he had thought of a 4th dimension concept
and sought in Einstein's work a confirmation of it). I don't really know.
Anyway: in some way, the past is equally hard to "postdict" as the future
is hard to predict, but it depends on what one looks for. We are used to
think of the past using what remains from it, but almost every event of
the past is virtually unreachable due to having been blurred beyond
repair. For any set of things you observe, everything else is left
unobserved. The attention span of observers is tiny compared to what could
become relevant to the observers later.
(One could wonder: Exactly how straight is this axis? Could it bend and
go back? Of course! In music this is called a "reprise".)
"reprise", "beat" and such, are just larger scale splittings of the time
dimension in the same way that frequency separates from time. Reprises and
beats and rhythms are full of periodic patterns, just like the sound waves
themselves, but at a different scale, which doesn't make the physical ear
resonate anymore, but appeal to the brain's taste for sequencing. Thus a
beat may have frequencies like 4 Hz and 2 Hz and 0.333 Hz in it (whatever
is roughly in that range), whereas larger-scale song structures may have
frequencies like 0.1 and 0.01 Hz. You could call rhythm and song structure
a third dimension of music.
_ _ __ ___ _____ ________ _____________ _____________________ ...
| Mathieu Bouchard - tél:+1.514.383.3801, Montréal QC Canada
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